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About Earthstone Chu's Art

Earthstone Chu Publié: 28 janvier, 2017 / Modifié: 30 janvier, 2017
About Earthstone Chu's Art
“I am very interested in seeking the calm in movement, the stability in ambiguity and the meditation in chaos. ”
Earthstone Chu

Earthstone Chu’s intriguing constructions aim to communicate a profound spiritual awareness derived from personal experience, and the philosophy of Taoism. In Taoism, the central metaphors concern polarity, paradox and the process of change that occurs in the natural world. These ancient concepts and how they relate to contemporary human experience forms the basis of Chu’s most recent work, Intrinsic Scenes.

Chu studied in Taiwan at the Chinese Culture University, under an oppressive political environment that stifled free creative expression. He began his career 25 years ago making sensitively rendered Chinese pen and ink paintings of the local people, inspired to reflect modern life in Taiwan. At the time this was considered radical, as no art was being made that took a realistic view of Taiwanese society and told of the hardships endured. Chu frequently drew from life in the city streets, and found the faces of the local population provided ample subject matter, each with a lifetime of memories etched in its lines and contours.

From these beginnings in Taiwan, Chu’s practice has evolved to encompass a wide range of techniques and mediums, yet his concerns remain consistent. Progressing through oil painting, woodblock printmaking, mixed media assemblages and sculptural work, his recent work is on a large scale and installation based. Chu is flexible in his approach to choosing a medium, as they all form a conduit for expression but are secondary to the concept. Stemming from a deep consciousness of the flow of energy from which all life and nature stems, the artist views everyday objects, the refuse of modern life, as a rich source of material to create his multi-faceted work.

Chu moved with his family from Taiwan 15 years ago, attracted to Australia by its vast sense of space and the opportunity to set up a large studio and house. He found that the experience of living in a city is the same regardless of place. While its visual appearance and the way it is structured may vary dramatically – the essential energy is unchanged. The superficial connection that individuals have with each other, the impermanence of everyday objects, and the lack of value we attach to people and things are negative by-products of societies where everything is so easily available, yet many individuals remain essentially isolated.

This latest work aims to address these urban realities. By amassing a collection of metal piping and cables, broken crockery, building materials and other random objects, Chu constructs an elaborate world in the major piece in the exhibition, Intrinsic Scenes. Familiar objects appear strange, re-contextualised in this surreal setting. The walls, roof and floor are tiled with mirrors, while light globes in varying colours punctuate the interwoven objects, combining to create a reflective world filled with limitless angles and deceptive space. In creating visual and physical relationships between these disparate items, Chu mirrors the intrinsic connection humans have with each other and our environment – the same energy flows through all.

Intrinsic Scenes also investigates the Taoist idea of ‘unified contradiction’, the dynamic interplay between unified opposites best expressed in the natural push and pull of Ying/Yang energy. This is seen in the interactive nature of the work. Objects touched immediately begin to move, sending further movement rippling throughout, generating a fanciful play of light and reflection. The viewer is invited to engage in the artwork, rather than remain a passive receiver of information. Perhaps a metaphor for greater personal engagement with each other leading to a similarly satisfying result.

Marguerite Brown

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